2008 AFF Schedule D

Total Page:16

File Type:pdf, Size:1020Kb

2008 AFF Schedule D Albuquerque Folk Festival Event Schedule, June 21, 2008 Gates open at 9:30 AM with welcoming entertainment…… Opening entertainment (10 AM): JUBALation! (Stage 2) Tahitian Dance & Workshop (Dance Tent) Chinese Martial Arts (Dance Bldg) 7:30-11 PM Location Suite Medley (Main Gate) Limberjacks! (Li'l Folks Tent) Thai Dance & Music (Demo Stage) Tan y Ddraig (Welsh Choir, Storytelling Tent) 6-7 PM 6-7 Time: 11:00-11:50 AM 12:00-12:50 AM 1:00- 1:50 PM 2:00- 2:50 PM 3:00- 3:50 PM 4:00- 4:50 PM 5:00- 5:50 PM Le Chat Lunatique Syd Masters & the Ninos Flamencos The Wilders Mike Lopez & Richard Los Primos Bryan Bowers Main Stage Gypsy & Western Swing Swing Riders Youth Flamenco Dance Old-Time Country & Hardy Mexican Folk & Latin Master Autoharpist & More Cowboy swing Group Honky-Tonk Native American Folk Buckarettes Duke City Swamp Saoirse (Seer-shih) Holy Water and Whiskey LadyFingers Muddy River String Band Sheppard and Carlson Stage Two (Cowgirl Music with an Coolers Dance Building (Celtic) (Folk/Americana) (Mixed Bag) (Americana) (High-Altitude Acoustic) Attitude) (Bluegrass) Demonstration Mary Cox Irish Step Demo Tim Hill Muggies Ufda Farfesha Belly Dance La Rondalla Special Orchestra MainStage: AllTogether Now!Main Stage BandSc Stage Banjo Demo McTeggart Dancers (Harmonic Singing) (Scandinavian) Meredith Wilder Songwriter Carol Spizman Bonnie Bluhm with Sam Miller & Jim Jones Abby Linhart Thom Parrott Lee Domann w/ Vakina Dentata Showcase David Schripsema Bluegrass vs. Old-Time Apple Mountain Strings & Bluegrass Flatpick Guitar Mixing Originals with NM FolkMADS Folk Harp (B) Ukulele (B) Gypsy Fiddle (I) Workshop 1 Wayne Shrubsall & Bruce Things (I) Older Styles Contra Dance. Stephanie Sjaardema Michael VeSeart Muni Kulasinghe Thomson Folk Music Club Gregg Daigle The Wilders Music by "The How to get in great Abq Megaband" Mandolin (B) Bodhran (Irish Drum) (B) Harmonica (B) Klezmer Music Bones (B) Workshop 2 tune! (Autoharp) Callers: Wendy Laurie Phillips Shane Page Danny Garcia Beth Cohen David Wilson Bryan Bowers Graham & Kris Hammered Dulcimer Tunes from the DADGAD Celtic & Blues Jensen Irish Fiddle (B) Fingerpicking Guitar (B) North American Fiddle (I) Workshop 3 (B) Southwest (Mandolin) (I) Guitar (I) Band Scramble Practice Gary Papenhagen Pat Neff Bruce Thomson Scott Reeder Scott Mathis Ron McFarland Celtic Mountain Dulcimer Uppicking & Downpicking Bluegrass Banjo (B) Tin Whistle (B) Mountain Dulcimer (B) Jaw Harp (B) Workshop 4 (I) Banjo (I) Bill Howden Andy Moss Irma Reeder Ken Dean Jonathan Dowell Wayne Shrubsall Harmonic (Throat) May Carols & Womens' Barbershop Folksong Circle Country/Gospel Singing Celtic Singing Workshop 5 Singing Shape Note Singing Celebrations Enchanted Mesa ABQ Song circle Wing and a Prayer NM Celtic Singers Tim Hill Instruments of Joy Argentine Tango International Folk Enchantment Scottish ramble (Dancers too!) + WinningFiddlers Kid's Irish Ceili Hawaiian Hula Klezmer Country Western Swing Dance Tent Tango Club of Charlene Baker & Carol Country Dance Tent Norita Callahan Cindi Heffner Rikud Gary & Susan Kellogg Albuquerque McGinn Kenneth Armstrong Appalachian Square Dance Scandinavian Clogging Balkan Contra Dance African Dance AS&CDC Barn Dance Bldg Wendy Graham w/ Gary Kris Jensen w/ Virginia Craig Olson Ed Hooten Patsy Gregory Wendy Graham w/ Hey! Laryea Addy Dance "Under Papenhagen & friends Creepers the Stars" w/ Clyde Archibeque Dianne Rossbach Ralph Estes Paulette Atencio Marilyn Adams Steven Pla Bryan Bowers "South by South Storytelling Overs at the ball park Believe it or not! Billy and me Northern NM Susan B Anthony International Tales How Stories Work West" Kids Americana Introduction to the Jam with the Band for Fiddle Contest Fiddle Contest Frog Fiddlers Enchanted Fiddlers Li'l Folks Apple Mountain Harp Ukulele Kids ages to 12 ages 13-18 Linda Vik Jana Haas Stage Two: Kids Michael VeSeart JUBALation African Dance w/ Crafts Ongoing demonstrations in Quilting, Knitting, Sewing, Crocheting, Embroidery, Lacemaking, Smocking, Woodcarving, Beading, Spinning & Weaving African Sounds (Fine Arts Bldg) One-woman Quilt Show featuring the works of BARBARA GARY Jam with the HEY! Juniper Hill Blarneystone Adobe Brothers Young Edward Bleecker Street Boys Band Scramble Practice Band Gospel Harmony Bluegrass/Old Time Bluegrass Irish Session Folk/Bluegrass/Country Popular Mixed/ Bluegrass Songwriter Tent: Hosted Jam Bruce & Maggie Tony Brozena Steve Morgan John Conoboy Carl Allen & Sandra Vieth "Peaches" Hines Evening Jam Washburne Band Scramble Practice Folk/ Popular Folk/Rock/Pop Folk/Rock Popular/Anything Goes Mom’s Swing Folk/Pop/Singalong Hosted Jam2 Bruce Davis Guy & Lisa Dicharry Katie Gill Bill Balassi Tom Hunter Dan Matthews.
Recommended publications
  • 1 B.O.M.Newsletter #331Web 今年の IBMA・WOB ツアー 今月の新入荷
    B.O.M.Newsletter #331web なるシエラ・ハルのツアーをサポートしてください。 お願いします!! 2008 年 5 月 9 日 ▼ 25 年目を迎えているムーンシャイナー誌です!! ▼今月のニュースレターはウエブサイトのみです。紙刷 月刊ムーンシャイナー定期購読は1年間(1 2 冊) り版ご希望の方はお申し出下さい。 ¥6,000- 半年間(6冊)¥3,300-。購読開始希望月を お知らせいただければ、振り込み票とともに早速お送 ▼恒例の「宝塚春フェス」は、いつもの三田アスレチッ りします。…定期購読を、是非ともよろしく!! ク(0795-69-0024)で、5 月 31 日(土)3 時から 6 月 1 日 最新 5 月号(MS-2507 ¥525-)は来日のクリス・ヒ (日)のお昼頃まで、新緑の山中、野外で開催します(雨 ルマンとハーブ・ぺダースンを表紙特集に、カリフォ 天の場合は屋内)。コンサートは午後 6 時から、現地書き ルニア・ブルーグラス考、ペティブーカ『TOKYO 込み式でプログラムを作成します。梅雨入り前の一日、 Bluegrass Honeys』、マイク伊藤『音楽から見えるア キャンプをしながら森林浴や「焚き火ジャム」で英気を メリカ』、ゲティスバーグ・ブルーグラス・フェス、 養いませんか?参加費用 ¥2,500- ディープサウス・ピッキンパーティ、日本ブルーグラ なお、宿泊(バンガローや民宿)をご希望の方は直接、 ス年表⑰「1964-65 年」、中西孝仁の IBMA2007 リポー 三田アスレチックにお問い合わせください。 トほか、日米ブルーグラス情報満載。 ちなみに、夏フェスは7月 31 日から8月3日!! ▼今月、またまたすごい天才マンドリン少女が全米デ 今年の IBMA・WOB ツアー ビュー。すでに米国では数年前から大きな話題となり、 今年もナッシュビルのダウンタウンど真ん中、高層 ラウンダーが 13 歳で契約、3年の時間をかけ、満を持し ホ テルを中心に開かれる IBMA ワールド・オブ・ブルー てのデビューです。そのシエラ・ハル、今年7月に来日 グラス(WOB)へのツアーがあります。基本は 9 月 29 が決まりました。 日出発 10 月 6 日帰国で準備中、また WOB 期間全参加 IBMA(国際ブルーグラス音楽協会)の肝いりで、ケン やその前後のご相談もお受けしています。お気軽にお タッキーとウエスト・バージニア、そしてテネシーから 問い合わせください。なお、8月 29 日が応 募締め切 高校生のブルーグラス3バンド、総勢 16 名のブルーグラ りです。 ス・キッズのリーダー格として埼玉県の川口総合文化セ ンターの国際交流フェスに参加することになりました。 今月の新入荷注目作品 また交流フェス期間のホームステイの後、米国から現在 ROU-0601 SIERRA HULL『Secret』 の正式メンバーを呼び寄せ、シエラ・ハル&ハイウェイ CD¥2,573-(本体 ¥2,450-) 111 として7月 29 日から 10 日間、全国をツアーします。 満を持して発表した 16 歳の天才マンドリン少女、シ 彼女ら自身も、IBMA も、そして日本の受け入れ側も、 エラ・ハルの全米デビュー作。7月来日だぞ!! まっ 全国ツアーにボランティアとして協力し、現在もっとも すぐなブルーグラスと信じ難いテク、物凄い作品、… 旬なアーティストを見ていただこうという趣旨です。全 驚きますよ。ブルーグラス新入荷参照。 国のブルーグラス/オールドタイム/カントリー・ファ RHY-325 MASHVILLE BRIGADE ンの皆さん、間違いなく近い将来、とんでもない大物に
    [Show full text]
  • AFM Course Curriculum
    AMERICAN FIDDLE METHOD COURSE Curriculum Index GETTING READY Lesson 1 Introduction to AFM Lesson 2 Gear you need Lesson 3 Parts of a fiddle Lesson 4 Parts of a bow Lesson 5 Checking your fiddle’s setup Lesson 6 Checking your bow’s setup Lesson 7 Care of your instrument Lesson 8 Fitting a shoulder rest Lesson 9 Rosining the bow Lesson 10 Tuning using the pegs Lesson 11 Tuning using the fine tuners Lesson 12 Applying tapes to the fingerboard Lesson 13 Names of the notes STRATEGIES FOR SUCCESS Lesson 1 Three lists Lesson 2 Anatomy of a fiddle tune Lesson 3 Learning by ear Lesson 4 Small Overlapping Phases –SOPS Lesson 5 Muscle memory Lesson 6 Using a metronome LEVEL I Violin Position Lesson 1 Natural body position Lesson 2 Positioning the fiddle Lesson 3 Position of the left arm and hand st Lesson 4 Thumb and “Mirror 1 Finger” Beginning Bowing Lesson 5 Holding the bow Lesson 6 Principles of bowing Lesson 7 Bowing continuums Lesson 8 Diagnosing your tone Lesson 9 Bowing string changes Lesson 10 Beginning rhythms Beginning Fingering Lesson 11 A string – 1st finger Lesson 12 A string – 2nd finger Lesson 13 A string – 3rd finger Lesson 14 A string – three fingers Lesson 15 A string – practice Lesson 16 D string – three fingers Lesson 17 D string – practice Lesson 18 G string – three fingers Lesson 19 G string – practice Lesson 20 E string – three fingers Lesson 21 E string – practice Scales Lesson 22 How to play in tune Lesson 23 D Scale Lesson 24 G Scale Lesson 25 A Scale Lesson 26 Twinkle –key of D Lesson 27 Twinkle –key of A Lesson 28 Twinkle –key of
    [Show full text]
  • Guitar Week, July 24-30, 2016 7:30- 8:30 Breakfast
    JULY 3 - AUGUST 6, 2016 AT WARREN WILSON COLLEGE, ASHEVILLE, NC The Swannanoa Gathering Warren Wilson College, PO Box 9000, Asheville, NC 28815-9000 phone/fax: (828) 298-3434 email: [email protected] • website: www.swangathering.com shipping address: The Swannanoa Gathering, 701 Warren Wilson Rd., Swannanoa, NC 28778 For college admission information contact: [email protected] or 1-800-934-3536 WARREN WILSON COLLEGE CLASS INFORMATION President Dr. Steven L. Solnick The workshops take place at various sites around the Warren Wilson Vice President and Dean of the College Dr. Paula Garrett campus and environs, (contact: [email protected] or 1-800-934-3536 Vice President for Administration and Finance Stephanie Owens for college admission information) including classrooms, Kittredge Theatre, our Vice President of Advancement K. Johnson Bowles Bryson Gym dancehall and campus Pavilion, the campus gardens and patios, Vice President for Enrollment and Marketing Janelle Holmboe Dean of Student Life Paul Perrine and our own jam session tents. Each year we offer over 150 classes. Students are Dean of Service Learning Cathy Kramer free to create their own curriculum from any of the classes in any programs offered Dean of Work Ian Robertson for each week. Students may list a class choice and an alternate for each of our scheduled class periods, but concentration on two, or perhaps three classes is THE SWANNANOA GATHERING strongly recommended, and class selections are required for registration. We ask that you be thoughtful in making your selections, since we will consider Director Jim Magill them to be binding choices for which we will reserve you space.
    [Show full text]
  • American Folk Music and Folklore Recordings 1985: a Selected List
    DOCUMENT RESUME ED 277 618 SO 017 762 TITLE American Folk Music and Folklore Recordings 1985: A Selected List. INSTITUTION Library of Congress, Washington, D.C. American Folklife Center. PUB DATE 86 NOTE 17p.; For the recordings lists for 1984 and 1983, see ED 271 353-354. Photographs may not reproduce clearly. AVAILABLE FROM Selected List, American Folklife Center, Library of Congress, Washington, DC 20540. PUB TYPE Reference Materials - Bibliographies (131) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS Annotated Bibliographies; *Black Culture; *Folk Culture; *Jazz; *Modernism; *Music; Popular Culture ABSTRACT Thirty outstanding records and tapes of traditional music and folklore which were released in 1985 are described in this illustrated booklet. All of these recordings are annotated with liner notes or accompanying booklets relating the recordings to the performers, their communities, genres, styles, or other pertinent information. The items are conveniently available in the United States and emphasize "root traditions" over popular adaptations of traditional materials. Also included is information about sources for folk records and tapes, publications which list and review traditional music recordings, and relevant Library of Congress Catalog card numbers. (BZ) U.111. DEPARTMENT OF EDUCATION Office or Educao onal Research and Improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) This document hes been reproduced u received from the person or o•panizahon originating it Minor changes nave been made to improve reproduction ought) Points of view or opinions stated in this docu mint do not necessarily represent Olhcrai OERI posrtio.r or policy AMERICAN FOLK MUSIC AND FOLKLORE RECORDINGS 1985 A SELECTED LIST Selection Panel Thomas A. Adler University of Kentucky; Record Review Editor, Western Folklore Ethel Raim Director, Ethnic Folk Arts Center Don L.
    [Show full text]
  • January 2020 SCVFA Happenings
    Fiddler’s Rag Vol. 48, Number 1 Santa Clara Valley Fiddlers Association Jan 2020 Celebrating 45 years www.fiddlers.org Next Jam: Jan 5 President’s Note are new on their musical journey to progress and share our joy of music. It’s a New Year and SCVFA has Start the New Year right by joining us immediately after a special jam starting on January the jam at Sam’s Bar-B-Que for good food and better 5th. Bluegrass players, this is conversation. Put down your instruments and get to especially for you: Local know one another at “Afters”. You'll be glad you did. fiddle/mandolin player from 1110 S Bascom Ave, San Jose. “Bean Creek”, Pete Hicks, will be the first of professional Volunteers are what keeps SCVFA going and it’s fun! musicians to anchor an This is a great way to connect with more musicians and intermediate-advanced level support our organization. It takes a village... Let’s all do bluegrass jam group at SCVFA our part. monthly jam at least through June 2020. He will be playing --- Susan with the bluegrassers from 1:00 - 5:00 PM. Tell all your friends that this is new. Come give it a try. February brings the Annual meeting and elections. Check out the pics and bios for the prospective new board members (page 5). Most importantly, mark your calendars now to be here in February for the election. Mark Tamsula, my very first fiddle teacher, is coming to California for multiple performances throughout the Bay Area. After 2 months of Suzuki violin in elementary school with my daughter, I graduated to Mark’s class of “oldtime fiddle by ear”.
    [Show full text]
  • Jim Shumate and the Development of Bluegrass Fiddling
    JIM SHUMATE AND THE DEVELOPMENT OF BLUEGRASS FIDDLING A Thesis by NATALYA WEINSTEIN MILLER Submitted to the Graduate School Appalachian State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2018 Center for Appalachian Studies JIM SHUMATE AND THE DEVELOPMENT OF BLUEGRASS FIDDLING A Thesis by NATALYA WEINSTEIN MILLER May 2018 APPROVED BY: Sandra L. Ballard Chairperson, Thesis Committee Gary R. Boye Member, Thesis Committee David H. Wood Member, Thesis Committee William R. Schumann Director, Center for Appalachian Studies Max C. Poole, Ph.D. Dean, Cratis D. Williams School of Graduate Studies Copyright by Natalya Weinstein Miller 2018 All Rights Reserved Abstract JIM SHUMATE AND THE DEVELOPMENT OF BLUEGRASS FIDDLING Natalya Weinstein Miller, B.A., University of Massachusetts M.A., Appalachian State University Chairperson: Sandra L. Ballard Born and raised on Chestnut Mountain in Wilkes County, North Carolina, James “Jim” Shumate (1921-2013) was a pioneering bluegrass fiddler. His position at the inception of bluegrass places him as a significant yet understudied musician. Shumate was a stylistic co-creator of bluegrass fiddling, synthesizing a variety of existing styles into the developing genre during his time performing with some of the top names in bluegrass in the 1940s, including Bill Monroe in 1945 and Lester Flatt & Earl Scruggs in 1948. While the "big bang" of bluegrass is considered to be in 1946, many elements of the bluegrass fiddle style were present in Bill Monroe's Blue Grass Boys prior to 1945. Jim Shumate’s innovative playing demonstrated characteristics of this emerging style, such as sliding double-stops (fingering notes on two strings at once) and syncopated, bluesy runs.
    [Show full text]
  • Jemf Quarterly
    JEMF QUARTERLY JOHN EDWARDS MEMORIAL FOUNDATION VOL. XII SPRING 1976 No. 41 THE JEMF The John Edwards Memorial Foundation is an archive and research center located in the Folklore and Mythology Center of the University of California at Los Angeles. It is chartered as an educational non-profit corporation, supported by gifts and contributions. The purpose of the JEMF is to further the serious study and public recognition of those forms of American folk music disseminated by commercial media such as print, sound recordings, films, radio, and television. These forms include the music referred to as cowboy, western, country & western, old time, hillbilly, bluegrass, mountain, country ,cajun, sacred, gospel, race, blues, rhythm' and blues, soul, and folk rock. The Foundation works toward this goal by: gathering and cataloguing phonograph records, sheet music, song books, photographs, biographical and discographical information, and scholarly works, as well as related artifacts; compiling, publishing, and distributing bibliographical, biographical, discographical, and historical data; reprinting, with permission, pertinent articles originally appearing in books and journals; and reissuing historically significant out-of-print sound recordings. The Friends of the JEMF was organized as a voluntary non-profit association to enable persons to support the Foundation's work. Membership in the Friends is $8.50 (or more) per calendar year; this fee qualifies as a tax deduction. Gifts and contributions to the Foundation qualify as tax deductions. DIRECTORS ADVISORS Eugene W. Earle, President Archie Green, 1st Vice President Ry Cooder Fred Hoeptner, 2nd Vice President David Crisp Ken Griffis, Secretary Harlan Dani'el D. K. Wilgus, Treasurer David Evans John Hammond Wayland D.
    [Show full text]
  • Off the Beaten Track
    Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center, our multimedia, folk-related archive). All recordings received are included in Publication Noted (which follows Off the Beaten Track). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention Off The Beaten Track. Sincere thanks to this issues panel of musical experts: Roger Dietz, Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Andy Nagy, Angela Page, Mike Regenstreif, Peter Spencer, Michael Tearson, Rich Warren, Matt Watroba, Elijah Wald, and Rob Weir. liant interpretation but only someone with not your typical backwoods folk musician, Jodys skill and knowledge could pull it off. as he studied at both Oberlin and the Cin- The CD continues in this fashion, go- cinnati College Conservatory of Music. He ing in and out of dream with versions of was smitten with the hammered dulcimer songs like Rhinordine, Lord Leitrim, in the early 70s and his virtuosity has in- and perhaps the most well known of all spired many players since his early days ballads, Barbary Ellen. performing with Grey Larsen. Those won- To use this recording as background derful June Appal recordings are treasured JODY STECHER music would be a mistake. I suggest you by many of us who were hearing the ham- Oh The Wind And Rain sit down in a quiet place, put on the head- mered dulcimer for the first time.
    [Show full text]
  • Representation of African American Music: the Role of the Fiddle
    Journal of the Society for American Music (2016), Volume 10, Number 1, pp. 1–32. C The Society for American Music 2016 doi:10.1017/S1752196315000528 The (Mis)Representation of African American Music: The Role of the Fiddle JACQUELINE COGDELL DJEDJE Abstract During the early twentieth century, research on African American music focused primarily on spirituals and jazz. Investigations on the secular music of blacks living in rural areas were nonexistent except for the work of folklorists researching blues. Researchers and record companies avoided black fiddling because many viewed it not only as a relic of the past, but also a tradition identified with whites. In the second half of the twentieth century, rural-based musical traditions continued to be ignored because researchers tended to be music historians who relied almost exclusively on print or sound materials for analyses. Because rural black musicians who performed secular music rarely had an opportunity to record and few print data were available, sources were lacking. Thus, much of what we know about twentieth-century black secular music is based on styles created and performed by African Americans living in urban areas. And it is these styles that are often represented as the musical creations for all black people, in spite of the fact that other traditions were preferred and performed. This article explores how the (mis)representation of African American music has affected our understanding of black music generally and the development of black fiddling specifically. Although music
    [Show full text]
  • Time's the Revelator
    Time’s the Revelator: Revival and Resurgence in Alt.country and Modern Old-Time American Music Ashley Denise Melzer A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of American Studies (Folklore). Chapel Hill 2009 Approved by: Dr. William Ferris Dr. Robert Cantwell Dr. Patricia Sawin © 2009 Ashley Denise Melzer ALL RIGHTS RESERVED ii ABSTRACT ASHLEY MELZER: Time’s the Revelator: Revival and Resurgence in Alt.country and Modern Old-Time American Music (Under the directions of Dr. William Ferris, Dr. Robert Cantwell, and Dr. Patricia Sawin) This thesis investigates the relationship between the modern old-time and alt.country movements through the comparison of four different female musicians: Abigail Washburn, Rayna Gellert, Gillian Welch, and Neko Case. These four women often pull from the same wellspring of old-time songs/structures/sounds, but their instincts come from exceptionally different places. The disparity between the ways they approach their music, reveals how the push toward modern capitalist industrialism has affected how different artists and communities access and transmit those old-world icons and sounds. Furthermore, their engagement specifically with the topic of gender exposes key tactical differences. Old-time musicians, Washburn and Gellert, work within the strictures of tradition so as to remain in dialogue with their community. Welch and Case play into the experimental bent of alt.country to emotionally affect listeners in order to create discreet, personal connections between themselves and their audience. iii To the ones who listen and love me anyway iv PREFACE In the summer, Florida is so hot the home becomes some dark prison of necessary air conditioning.
    [Show full text]
  • Czech Bluegrass Fiddlers and Their Negotiations of Past and Present Lee Bidgood East Tennessee State University, [email protected]
    East Tennessee State University Digital Commons @ East Tennessee State University ETSU Faculty Works Faculty Works 2013 Czech Bluegrass Fiddlers and their Negotiations of Past and Present Lee Bidgood East Tennessee State University, [email protected] Follow this and additional works at: https://dc.etsu.edu/etsu-works Part of the Appalachian Studies Commons, Ethnomusicology Commons, and the Music Performance Commons Citation Information Bidgood, Lee. 2013. Czech Bluegrass Fiddlers and their Negotiations of Past and Present. The International Journal of Country Music. 77-96. https://www.amazon.com/International-Country-Music-Journal-Cusic/dp/0985556196 ISBN: 9780985556198 This Article is brought to you for free and open access by the Faculty Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in ETSU Faculty Works by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Czech Bluegrass Fiddlers and their Negotiations of Past and Present Copyright Statement This document was published with permission from the editor. It was originally published in the The International Journal of Country Music. This article is available at Digital Commons @ East Tennessee State University: https://dc.etsu.edu/etsu-works/1035 International Country Music Journal 2013 Czech Bluegrass Fiddlers and their Negotiations of Past and Present By Lee Bidgood Why the fiddle? Proc ty housle? ("Why the fiddle?") - "Fiddlers are all bad here - Why not write about the banjo or something else that Czechs are good at?" These questions about my ethnographic fieldwork came from musician colleagues with whom I working in researching bluegrass music in the Czech Republic, during a jam circle around a table.
    [Show full text]
  • Folk Music 1 Folk Music
    Folk music 1 Folk music Folk music Béla Bartók recording Slovak peasant singers in 1908 Traditions List of folk music traditions Musicians List of folk musicians Instruments Folk instruments Folk music is an English term encompassing both traditional folk music and contemporary folk music. The term originated in the 19th century. Traditional folk music has been defined in several ways: as music transmitted by mouth, as music of the lower classes, and as music with unknown composers. It has been contrasted with commercial and classical styles. This music is also referred to as traditional music and, in US, as "roots music". Starting in the mid-20th century a new form of popular folk music evolved from traditional folk music. This process and period is called the (second) folk revival and reached a zenith in the 1960s. The most common name for this new form of music is also "folk music", but is often called "contemporary folk music" or "folk revival music" to make the distinction.[1] This type of folk music also includes fusion genres such as folk rock, electric folk, and others. While contemporary folk music is a genre generally distinct from traditional folk music, it often shares the same English name, performers and venues as traditional folk music; even individual songs may be a blend of the two. Traditional folk music Definitions A consistent definition of traditional folk music is elusive. The terms folk music, folk song, and folk dance are comparatively recent expressions. They are extensions of the term folk lore, which was coined
    [Show full text]